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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 27–38.
Published: 01 May 1976
... © 1976 by Camera Obscura 1976 Deux Fois: shot commentary, shot chart, and photogrammes 01 This shot functions asan introduction to the film. The action ofthe shot is very simple. Raynal, at a table, is nervously eating a salad and bread and drinking a coke. Her eyes...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 39–41.
Published: 01 May 1976
... • 32 * expressions and soundless xcu m ~ noises. "Raynal has cut this shot from the film. KEY xcu: extreme close-up f: female h: high angle cu: close-up m: male I: lowangle...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2015) 30 (1 (88)): 155–183.
Published: 01 May 2015
...Pier Dominguez This article examines Bravo's Real Housewives franchise (2006–) to theorize the aesthetic, affective, and performance qualities of docusoap televisuality. It argues that the franchise functions through a financial and affective economy of “money shots,” or moments of predictably...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2015) 30 (2 (89)): 1–27.
Published: 01 September 2015
...Johanna Gosse San Francisco artist Bruce Conner established himself as a major figure in postwar underground cinema with his first film, A MOVIE (1958), a masterpiece of found-footage montage. Yet Conner also shot several films with his own camera, many of which feature a nude or partially clothed...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 113–137.
Published: 01 May 2019
...Brenda Longfellow Chantal Akerman’s last film, No Home Movie (Belgium/ France, 2015), a film that is now impossibly freighted with the news of her suicide, provides a poignant reflection on many of the themes and formal strategies that Akerman has employed throughout her storied career. Shot by...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2009) 24 (1 (70)): 109–133.
Published: 01 May 2009
... and racial identity in the television program 24 . Facial recognition systems (FRSs), in particular, participate in earlier visual discourses of privileged facial imaging such as the close-up and the mug shot, and link them with forms of machine envisioning such as automated rapid facial comparison...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 2009) 24 (3 (72)): 41–71.
Published: 01 December 2009
... repeats it. However, unlike the mother, who is unable to acknowledge her trauma as such, the daughter understands the traumatic wound that society has inflicted on her own and her mother's bodies. The film employs two aesthetic strategies (a fixed camera and the absence of reverse shots) that expose the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2010) 25 (1 (73)): 1–27.
Published: 01 May 2010
... become apparent. When, for instance, a recurring ghostly tracking shot insistently links Rebecca and Rope in defiance of a general critical segregation, it becomes necessary to retest the boundaries of character and diegesis on which criticism habitually relies. Taking up residence between and beyond his...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2010) 25 (2 (74)): 183–195.
Published: 01 September 2010
... governmentality. Shot in real time between 2002 and 2007, And I Do Survive takes as its subject the HIV-positive bisexual activist Michelle Lopez. Born in Trinidad, Lopez has been in the US for close to two decades now but has been unable to acquire citizenship because of a legal ban on HIV-positive immigrants...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 91–97.
Published: 01 May 2019
... working, especially on documentary and installation pieces; her preference for frontal shots; her lack of interest in rules, realism, and character psychology; and her humor. The tribute closes with the filmmaker’s own words on her last film, No Home Movie (Belgium/France, 2015). Copyright © 2019 Camera...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 163–183.
Published: 01 May 2019
... cinematic forms of alienation, repetition, and permutation; in inventing shots that point to the lacking and the missing; in transmitting unexpected voices and sounds; and in creating hybrid forms of unadaptable identities, Akerman unflinchingly produces forms of persistent memories. The following short...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1981) 3 (1 (7)): 88–109.
Published: 01 May 1981
...: A traveling shot follows the young Charlotte as she walks along the deck of the ship. Voice-over: It was the proudest moment of my life. He [Leslie] had defied my 93 mother and placed me on a throne. And before a witness. Dissolve to Charlotte in her room, her back to...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1982) 3-4 (2-3-1 (8-9-10)): 131–160.
Published: 01 December 1982
... an inevitable repetitiveness if study of the classical cinema is conducted exclusively by means of a series of film analyses. Thus the object of the following analysis is a section ofJean-Luc Godard’s La Chinoise (72 shots lasting a total of 494 seconds).2 It is...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1976) 1 (1 (1)): 11–26.
Published: 01 May 1976
... integrated with the narrative" ~ At the end of the opening shot of Deux Fois, when Raynal, looking straight at the camera, says' 'This evening will be the end of signification' ,, this can be read as not only signification in terms of an attention to the specificallycinematic materials and...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 122–130.
Published: 01 September 1977
...- screen sound: before the first image begins, during the tides, we hear the sound of pounding-relentless, rhythmical, to which Duras refers in the scenarioasa 'batternentcardiaque"; in the third and fourth shots, we heara woman's voice humming a tune, 'India Song'. There is also diegetic noise: the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 December 1980) 2 (3 (6)): 6–41.
Published: 01 December 1980
... semblant] whch Tatiana Karl tells about and what I have been able to imagine about that night at the town beach casino. Following whch I shall relate my own story of Lo1 Stein.‘ The story begns then already shot through with the holes and gaps of someone else’s memory. But the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 2003) 18 (2 (53)): 1–25.
Published: 01 September 2003
... Straub and Danièle Huillet, Germany, 1981) begins with a traveling shot best described as vertiginous. The shot—more than seven minutes in duration—is filmed from an automobile driving around the traffic circle at the Place de la Bastille in Paris. The camera looks outward; the spectator never sees...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 105–114.
Published: 01 September 1977
... of the Portuguese Revo- lution; then variousdiscussionsabout the pho- tograph and another picture of a demonstra- tion in France which she intended to contrast with the photograph from Portugal. In that segment, shots of Odette and the newspaper- man watching the film on...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 6–70.
Published: 01 September 1980
... itself. Film, 2: if the filmic system consists of the displace- ment of codesY2then the textual analysis of film, in order to (re)constitute this system, can only proceed by integrating its own codes differently- by displacing them. I. Credits, Creation Shot I. Fade-in. In the middle of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 216–218.
Published: 01 May 1979
... lighting, camera angles, stationary camera, duration of shots, and style of acting, creates Jeanne Dielman and her world-or rather, Jeanne Dielman in her worid. Beginning with the film’s title, we see the chief character not simply named (as in Marnze), nor named and claimed (as in Alfred...